
LIBRARY OF CONGRESS. 

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BY 

E H. ROUDEBUSH. 


PUBLISHED BY 

CENTRAL SCHOOL SUPPLY HOUSE, CHICAGO. 














A MANUAL FOR SCHOOLS AND SELF INSTRUCTION. 


Manual of 


Methods 



E. H. ROUDEBUSH, 

Author of the Roudebush Writing System. 



COPYRIGHTED BY 

THE ROUDEBUSH PUBLISHING CO. 


1895. 



PUBLISHED BY 


Central School Supply House, 


CHICAGO, ILL. 









“True ease in writing comes from art, not chance, 
As those move easiest, who have learn’d to dance.” 






. 2 3' /Qf/ 


PREFACE. 

U 

k 

This little Manual of Methods has been prepared, not to present a great variety 
of methods, but to illustrate and explain how to carry out one comprehensive method 
of teaching writing. 

That this method cannot fail to produce excellent results, if carefully studied 
and faithfully carried out, is proved by the experience of many teachers who have 
given it a trial and followed its instructions. 

The experience of these teachers, numerous experiments, and careful observa¬ 
tions during several years, warrant us in affirming that any teacher (even though net 
a skilled penman), who adopts this method and faithfully carries out the prescribed 
course, can obtain' surprisingly excellent results equal to, if not more satisfactory, 
than those generally obtained by special teachers of writing. 

We have yet to learn of any teacher who, having once adopted this method, has 
abandoned it for another, while we have heard of many who have changed or modi¬ 
fied prescribed systems to conform to this method. We have innumerable testimon¬ 
ials to the effect that this method has been uniformly and remarkably successful in 
improving the writing of all grades of pupils in a very short time. 

The^implicity of analysis ; the ease of execution of the letter forms ; the novel, 
convenient and economical style of chart and practice sheets (dispensing with the 
copy book); the easy gradations of the course ; the labor-saving and effective system 
of marking pupil’s exercises ; the plan of individual instruction and the requirement 
that each pupil shall keep up to his own standard—as shown by his specimen sheets ; 
the understanding, by the pupil, of the next step in his progress and the interest 
thereby evoked ; and the other special features of this method; will, we feel very 
sure, commend themselves to the practical teacher, as soon as they are examined 
and understood. 

The within pages provide the necessary explanations and illustrations. 

We ask you to give them careful reading and patient examination, and believe 
you will feel well repaid in so doing. 

We shall be pleased to correspond with you. 







































































INTRODUCTION 


The course outlined in this Manual conforms to the course prescribed in the 
Portfolio Chart Books. 

This book is arranged in Four Parts. 

Part I includes all that may be necessary or safe to introduce into the Public 
Schools: First, because it outlines a complete course in writing, and gives a plan of 
following the course, whereby each pupil is required to learn each exercise thoroughly 
as he progresses. Second , because few teachers can be specialists in this line, and 
their teaching should be confined to methods which they can use safely. Third, 
because this part presents all that is being done or that is required in a large propor. 
tion of the schools. Fourth , because the methods of teaching and the prescribed 
drills fully prepare the pupils to write a hand that becomes individual and charac¬ 
teristic, without losing correctness or legibility. 

Part II contains suggestions concerning those phases of teaching and practice 
that teachers and pupils of most public schools might better omit entirely ; but all 
teachers who feel that they know when and how to introduce the exercises therein 
illustrated and explained should use them in their proper place. 

Part III comprises subjects of general importance in connection with learning 
to write, and special information to teachers using the Portfolio Chart Books. 

Part IV is set apart for Vertical writing. Most of the illustrations correspond 
to those of the Slant hand in Parts I, II and III, and the instructions accompanying 
the illustrations in the Slant hand apply also to the illustrations in the Vertical hand. 

Most of the script illustrations in this Manual were photo-engraved from the Chart 
Books. The copies in the Primary, Intermediate, and Advanced Chart Books, re¬ 
spectively, are appropriate for the pupils using them. The requirements as to skill 
in executing the letter forms, as well as the length of words to be written, are care¬ 
fully graded. Some of the formative, movement, position, and penholding exercises 
in this book are photo-engraved from pen work, done without special attempt at pre¬ 
cision, so that the exercises may not be considered too difficult by the unskilled 
writer. Throughout this Manual we have attempted to make the general plan defi¬ 
nite and plain, and to explain writing in various ways, and how to execute it. We 



6 


INTRODUCTION. 


have tried to make it simple without rendering the instructions child-like, teachers 
being expected to devise such expedients as they may choose, to suit the occasion. 

Teachers are not required or expected to use all the methods suggested in this 
Manual, unless they can do so successfully, and desire to use them. But the teacher 
is expected to carry out the general plan of Practice Exercises and Specimens in the 
Regular Course, and to assist the pupils in accordance with the methods in this book, 
or some other methods of instruction and drill that may be as good or better in their 
hands. 

We believe, however, that all teachers will be well repaid if they adopt the 
methods suggested in the several charts and verbal instructions herein, and incor¬ 
porate them in their own individual plans of instruction* 




PART I. 

PRELIMINARIES. 


PENHOLDING. 

Teachers should secure correct penholding by every pupil, by means of practice 
on easy exercises, such as sliding, making dots, making figures and practicing the 
long connective exercise with o across the page from left to right. See Exercise 26, 
Primary Exercise Chart in the Primary Book and in this Manual. 

Learning to hold the pen requires persistent effort and patience on the part of 
teacher and pupil for a month, possibly, but nothing is lost, for when correct penhold¬ 
ing once becomes established it is an easy matter to maintain it, and it is an essential. 
See Penholding, in Part III. 


POSITION. 

The correct position should be explained, but it is better to require exercises that 
will create interest and induce an interested position, which is a correct position, 
almost invariably. See Position Exercises, in Part III. 

$ 

THE BEGINNING. 

Pupils ought to learn the figures, in the order in which they are given in the 
Primary Exercise Chart, before beginning to learn to write the course as outlined in 
the Small Letter Chart, but they may begin on this regular course after they 
have learned 1, 4, 7, the first division of figures. 

Pupils should be told that each one must commence by making the first principle, 
and practice writing it until the teacher approves the work, when he may pass to 
the next, second principle, and then to the third principle, then z, and x, and c, and 
zz, and n, and vi , and then a word, in length according to the ability of the pupil, and 
then a specimen (a page of words miscellaneously arranged), that does not contain 
letters not already learned. They should be told that each letter, word or specimen 
is an exercise, and that when they begin to write one exercise they must not write any 
other until their work is approved by the teacher, when they must begin on the fol¬ 
lowing exercise. See To Pupil, page 6, in the Chart Book, 



DIVISIONS. SMALL LETTER CHART. —(Regular Individual Course.) From Intermediate Chart Book. 



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•jqohq | -anoH0 ipS 


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'ii Noixoas 































REGULAR COURSE. 


9 


REGULAR INDIVIDUAL COURSE. 

SMALL LETTER CHART. 

In the small letter chart, the pupil has the entire course of small letters before 
him on one page, arranged in a classification chart, which is a continual self-in¬ 
structor. 

The letters are arranged in three divisions, vertically, and eleven lessons,, 
horizontally, for the study of form by comparison. 

The first division is headed by the first small principle and the key letter i ; the 
second division is headed by the second small principle and the key letter x, and the 
third division is headed by the third small principle and the key letter c. 

There are twelve letters in the first division, all of which have the z-form or the 
first principle only. 

There arej nine letters in the second division, all of which have the A-form (omit- 
ing the cross) or the second principle, but four of these letters have the first principle, 
and each of them is found in a lesson, headed, as nearly as possible, by a letter having 
the same form of the first principle, p is preceded by final t, of the same form of the 
first principle, h is preceded by /, of the same form of the first principle, y is pre¬ 
ceded by j, of the same form of the first principle and h is preceded by b , nearly of the; 
same form of the first principle. ^ 

There are six letters in the third division, all of which have the <r-form (omitting 
the dot) or the third principle, but four of these letters have the first principle, and 
each of these letters is found in a lesson headed by a letter having the first principle 
of the same form, where possible, a is an exception, the lesson being headed by e> 
which has a modified first principle, and a has the standard first principle as found 
in i and u. d is preceded by t, of the same form of the first principle ; g is preceded 
by j , of the same form of the first principle, and q is preceded by/of the same form of 
the first principle, nearly. Each of the key letters (z, d, c) has a special mark. Each 
of the letters except those in the first, second and ninth lessons, and the letter r and 
final t has an extension , with one principle. 

The cpurse is separated into two sections with reference to the simplicity of 
strokes, and in each of these sections the letters are arranged in groups with refer¬ 
ence to height. 

The lessons in each group occur in the order of simplicity, thus making the gra¬ 
dation complete and easy. Each lesson is a review of principles. 

The printed words with the lessons are for specimen pages. (See specimen.)— 
Words to the comma, for first degree ; to the semicolon for second degree ; and all, for 
third and fourth degrees. The script words are for practice, before attempting the 
specimen ; one of these words is sufficient for practice. 

This chart, for study and practice, is a complete course in small letters, and little 
else is necessary. 



LETTER CHART.—(Regular Course Continued.) From Intermediate Chart Book. 


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REGULAR COURSE. 


11 


CAPITAL LETTER CHART. 

This chart shows the capitals in two sections with reference, in general, to the 
simplicity of executing the form of letter and in four subdivisions with reference to the 
kind of stroke in the principles. The left side of the chart comprises letters of direct 
(straight) main strokes, and the right side comprises letters of oval strokes. The first 
division comprises the simplest letters and those which, in the main, are most like the 
small letters of the same name. They are N, M, /, V, U, Y, /, S, L. 

The second division comprises the simplest oval-stroke letters. The third divis¬ 
ion comprises letters having oval and direct stroke, and the fourth division, com¬ 
prises letters of direct stroke, and all letters, except X t that requires to raise the 
pen in making. It also contains duplicate forms of A , N and M, which need not be 
learned, as the other forms are more correct and more practical. 

The easy step from small letters to capitals makes the progress very easy and 
natural. 

SUGGESTIONS. 



Each of the above letters in the first two lines is as much a real letter without 
the loop as with it. In D, E and L, the loop is the result of free movement at a close 
joining. The proper way to get the loops in all such cases, is by practicing the join¬ 
ing in close movement, as shown in the above, and then the same in free movement, 
and the loop occurs as it should be, without special effort to make it. It is very easily 
learned in this way. In S the loop is necessary to give body to the upper part of the 
letter, but it is learned easiest by treating it as a resultant of making the form as the 
first three, by raising the pen, and then attempting the same without raising the pen. 

This plan of securing the proper form of loop in S, suggests the proper plan of 
securing the loop, free extensions, in the small letters. 

The third line shows a method of learning by principle. (1) is the simple first 
principle without a beginning stroke. (2) is the same, compound. (3) and (4) are (1) and 
(2) with a beginning (connective) stroke. (5) is the simple second principle (oval) with¬ 
out a beginning stroke. (6) is the same with beginning stroke. (7) shows the two 
principles joined to form W. 

These principles are given in this order to suggest The necessity, sometimes, of 
making special practice exercises of each form of principle and then joining them to 
make a letter. 






EXERCISE CHART, No. 1 .-(Developing Exercises.) From Primary Chart Book. 


12 


MANUAL OF METHODS. 





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SPECIMEN. 


14 


MANUAL OF METHODS. 



This specimen represents every day work of a little girl. It was written by fair stroke movement. The specimen is marked 
2nd degree in the left corner and checked in the right corner to indicate about 94 per cent. 




syri/ yyrz^zy 


PAGE SPECIMENS. 


15 



This is an illustration of a specimen in the 3rd degree and checked 100 per cent. No pupil should be allowed to file a 
specimen, under approval of the teacher, that is not up to 80 per cent, of the above in accuracy. The specimens of children twelve 
to fourteen years old should average 85 per cent, at least. It is understood that the check, placed in the middle, indicates that the 
specimen is barely passable and the farther to the right the higher the proficiency. 






SECTION I. 




See Chart of Principles. 










VERBAL ANALYSIS. 


17 


ANALYSIS. 

The illustrations on the opposite page are analytic, as to the outline of the course 
and the form of letters. 

No. 1. The first line shows the course to be followed, and divides the small 
letters in five groups and two sections. The second line shows words, the bodies of 
which consist of the principles. Extensions are up, down, or sideward, from these 
principles and are shown by being detached, or separated by a very small vacant 
space. Extensions that are in one line are close extensions, those in which a trace or 
retrace is not close in line with the extension, and cause a loop, are free exten¬ 
sions. The last element of a word is a finishing element which does not belong to a 
letter except at the end of a word. The third line shows the words in the second 
line, with the extensions and special marks and the finishing strokes omitted, thus 
leaving the principles only. The fourth line shows the three forms of principles 
derived, in order according to the number of times found in the letters. 

No. 2 . The first line shows the capitals in ten groups and two sections. The 
second line shows the simplest letter of each group, and the third line shows the 
figures and the simple principles of all letters. 

Analysis is the mental process of seeing or discerning the construction of any¬ 
thing, and a method of aiding to discern this construction is also called analysis, espe¬ 
cially when the method is a verbal one. We analyze in Grammar, and in Arithmetic, 
and in Botany, and in Chemistry, and in History; we analyze so much that we con¬ 
clude that analysis must be a means of education; then why not use the means in 
writing for which it is so well adapted. 

The letter charts and exercise charts and the verbal analysis are all given as aids 
in seeing and understanding the system of forming letters. 

Analysis in writing must be twofold. The analysis must consider the construc¬ 
tion of letters and the method of executing them. 

Our methods of analysis are more especially prepared for the teacher than for 
the pupil. The teacher is expected to be able to lead the pupil intelligently and 
safely to do good work, and to be able to judge the writing of each exercise by each 
pupil. If our several methods, first, by letter charts ; second, by exercise charts, and 
third, by verbal analysis, assist the teacher, we have accomplished our purpose. We 
test the pupil’s analysis in just one way, viz.: by means of his writing. If he can 
write the forms correctly we know he has analyzed them correctly, and if we have 
been instrumental in aiding him, so much the better for our teaching. 

SMALL LETTERS.—(Verbal Analysis.) 

Verbal analysis does not mean anything when made by one who cannot execute 
the principles correctly. Where analysis is required in examinations it should be 
accompanied by the principles mentioned, and the execution of the principles should 
be considered one-half in the marking. 

Principles.— In the continuity of letters, written in words, a general principle 
prevails which includes the main element on the main slant and the connective ele¬ 
ment on the connective slant joined upward and resting on a base. In the letters w t 
v, o, b f the main element is compound, reverting on the main slant up one space, and 
the connective is horizontal from them, but curved down from one-sixth to one-third of 



18 


MANUAL OF METHODS. 


a space. This prevailing principle has three forms known as the 1st principle, 
found in twenty letters, 2nd principle , found in nine letters and the 3rd principle , 
found in six letters. The main element is, theoretically, a straight line on the 
main slant in all the principles. 

In the 1stprmciple, the connective element curves down and toward the main 
element and the joining is a close turn. In the 2nd principle, the connective element 
curves up and from the main element and the join’ng is a free turn. 

Note—A ll free turns in small letters are short turns. 

In the 3rd principle, the connective element is the same as in the 2nd principle 
but the joining is a close turn, made by the pen stopping and moving slightly leftward 
at the top of the main element. 

Standard Principles are one space high and one space wide at the base. 
There are four modified principles that measure differently; they are found in e, p, r, 
and k. 

An Extension is the continuance of the main element beyond the limits of a 
principle. 

Extensions are up, down or sideward and are close or free. 

A Close Extension is one in which the trace or retrace is made closely in the 
line of the extension. 

A Free Extension is one in which the trace or retrace is not closely in line 
with the extension; it causes a loop. 

A Special Mark is some distinctive feature not found in a principle or an 
extension. 

Note—A special mark is found in the principle for r. This is an exception. 

A Final Element is used only to finish the last letter in a word or a letter 
practiced singly. See Analytical Chart in the Primary or Intermediate Chart Book. 


VERBAL ANALYSIS. 

Only true letters are analyzed. Strictly speaking, the final element belongs to the last letter of a 
word, where it is used to give a finished appearance but it should be used when practicing letters singly. 
As standard principles are all one space high and one space wide, only the measurement of modified 
principles is mentioned. 

The exercises are numbered in the order to be learned. All letters and words in italics are prac¬ 
tice exercises. The specimens are termed specimen exercises. 

Note —For the script, refer to the charts and illustrated specimens. 

FIRST LESSON. 

1. i has the 1st principle and a dot on a line with the main element and one 
space above it. 2. x has the 2nd principle and a cross- on the middle of the main 
element, on such a slant as to measure one-third space above and below between its 
extremities and the main element. 3. c has the 3rd principle and a dot-hook made 
rightward and downward one-fourth of a space at the top of the principle. 

SECOND LESSON. 

4. u has the 1st principle twice. 5. n has the 2nd principle twice. 6. m has 
the 2nd principle three times. 7. cum, minx ; minimum. 

8. First Specimen —in min mix cum, minim minx cumin; minium minimum 
mimic mucic. 



VERBAL ANALYSIS. 


19 


THIRD LESSON. 

9. e has the 1st principle one-third space high with a free extension up two-thirds 
of a space. 10. a has the 3rd principle with a close extension rightward one space 
from the top, and the 1st principle. 11. ice, acme; maximum. 

12. Second Specimen —me an am aim ice ace, nine mine mice mince came; 
annex maximum acme. 

13. Group Specimen— Select words from the first and second specimens and 
write them alternately. 

FOURTH LESSON. 

14. t has the 1st principle with a close extension up one space and a cross one 
space long on the middle of the extension, one-third on the left and two-thirds on the 
right. 15. d has the 3rd principle as in a, and the 1st principle as in t. 16. end, 
timid; demanded. 

17. Third Specimen— tin ten and end tax, time dime amid; taxed mind dance 
demand meditate immediate adduce. 

FIFTH LESSON. 

18. Final / has the 1st principle two spaces high and a compound curve, hori. 
zontal, from a point up one space. This element serves for a cross, and the final ele¬ 
ment. 19. ft has the 1st principle two spaces high with a close extension down one 
space and a half, and the second principle. 20. ftat,ftant; imftatient. 

21. Fourth Specimen— it ant pit put pad, pint cent paid dupe; ancient cement 
painted patented anticipate ante-date. 

22. Group Specimen —Select words and write them alternately from the four 
preceding specimens. 

SIXTH LESSON. 

23. /has the 1st principle with a free extension up. 24. h has the first principle 
as in 1, and the 2nd principle. 25. him, heeled; humiliate. 

26. Fifth Specimen— lin him lid all ill, hence lance lain hide head laid lead 
hall; humane enhance headland alliance all hail. 

SEVENTH LESSON. 

27. j has the 1st principle with a free extension down, and a dot like the one 
over i. 28. y has the 2nd principle, and the 1st principle as in j. 29. g has the 3rd 
principle as in a, and the 1st principle as in j. 30. gun, judge ; judgment. 

31. Sixth Specimen— aye age gay jay, cage aught caddy city candy judge; 
audacity augment authenticity calling immediately. 

32. Group Specimen—As before—from the six preceding specimens. 

EIGHTH LESSON. 

33. s has the 1st principle with a close extension up one-fourth space on connec¬ 
tive slant, and a close extension leftward across the base one-half space and up one- 
fourth space. 34. r has the 1st principle, one and one-fourth spaces high and one 
and one-fourth spaces wide. It is modified on account of a special mark, horizontal, 
in the main element one-fourth space rightward, made from a point one space high. 
35. sir, risen ; jurisftrudence. 

36. Seventh Specimen— sir say rag, rise sire mire rinse stay string; stratagem 
sprightly jurisprudence. 



20 


MANUAL OF METHODS. 


NINTH LESSON. 

37. w has the 1st principle twice, the second one being compound. 38. v has 
the 2nd principle, compound. 39. o has the 3rd principle, compound. 40. z/ow 
woven ; disavowing. 

41. Eighth Specimen —we vow vie oil, wave will vein rose vail; avenue having 
weaving slavish groundless. 

42. Group Specimen —Select and write a page of words from the eight preced¬ 
ing specimens. 

TENTH LESSON. 

43. b has the 1st principle, compound, with a free extension up two spaces. 

44. k has the 1st principle as in 1, and the 2nd principle one and one-fourth spaces 
high and one-half space wide at the base. The connective element is a compound 
stroke. 45. ken , bleak ; blockhouses . 

46. Ninth Specimen —bin ben cab ink, bake know king bring blow blight; 
knowing blowing kingly rose-bush. 

ELEVENTH LESSON. 

47. /has the 1st principle with a free extension up and a free, compound exten¬ 
sion down. 48. z has the 2nd principle, and a special mark rightward one-third space 
from the base, with a free extension down. 49. q has the 3 rd principle as in a, and 
the 1st principle with extension down as in f. 50. fun , quaff; freemovement. 

51. Tenth Specimen— if fun adz, fame quiz; famine fife zone blaze quaint fork 
freeze fifty frenzy quarter fingers reference freemovement. 

52. Group Specimen —Select words from all the preceding specimens and 
write a page. 

The Group Specimens are optional, but all the other exercises must be 
learned in their order. It is a part of the course for pupils to compose their own 
words and sentences for page specimens, but such words and sentences must not 
contain letters not yet learned. 



VERBAL ANALYSIS. 


21 


CAPITALS. 

The capital principles differ from the small principles in height and in having 
some oval strokes and round turns. Where the characteristic of a principle in a 
capital letter is the same as that of a small principle, although it may be two 
spaces or two and a half spaces high, we prefer to consider it a modified small prin¬ 
ciple, as the second part of U is a small first principle two spaces or two and a half 
spaces high, because its turn is sharp. The turn in the capital first principle i.s very 
short but not sharp. 

FIRST LESSON. 

53. N has the 2nd principle twice, the^first being the capital principle and the 
second the small principle one-half space shorter than the capital principle. 54. V 
has the 2nd principle, compound. 55. /has the 1st principle extended leftward at the 
base and finished in a dot or finishing oval. The beginning stroke is a trace of the 
principle in a move very slightly leftward. 

Note —This beginning stroke accompanies the principle to give body to the letter, and is 
made leftward instead of rightward to avoid a form resembling S. We must consider it the ist princi* 
pie to avoid too much curve in both strokes which produces an uncomely body. 

56. O has the 3rd principle, compound, and a finishing stroke dropped nearly 
vertical in a left curve, and cutting through about the middle of the right side. 57. 
Q has the 2nd principle (oval) and a special mark, joined in a very short turn to the 
base, extended slightly leftward. 

Note—T he effort to move back quickly in a horizontal line along the base causes a slight loop 
which gives the Q its characteristic mark. 

58. Specimen No. 11—Compose or select good sentences begun by the capitals 
of this lesson and write them in page form, similar to the illustration on page 15. 

SECOND LESSON. 

59. M has the 2nd principle three times, the first being the capital principle, the 
others the small principles, each a half space shorter than the one preceding it. 60. 
U has the 2nd principle and the small 1st principle one half space shorter than the 
one preceding it. 61. S’has the 4th principle terminating in a dot or finishing oval, 
the oval and main element being traced by a right-curve beginning stroke which 
results in forming a loop with the upper half. 62. C has the 3rd principle, com¬ 
pound, begun by a dot or loop, and terminating one space up and to the right. 

Note— C may begin by a right curve beginning stroke tracing the upper two-thirds of the prin¬ 
ciple, thus forming a loop, and terminate in a finishing oval. 

63. Zhas the 2nd principle and the 3rd principle, touching at mid-height. 

64. Specimen No. 12—Instruction as before. 

THIRD LESSON. 

65. / has the 2nd principle one space wide with a free extension down. 66. V 
has U with a free extension down. 67. L has the 4th principle begun by a right curve 
beginning stroke as in S, or by a dot or loop at the top. There is a special mark 
joined to the base in a sharp turn which, executed by free continuous movement, 
causes a loop. 68. E has the 3rd principle as in C but broken in, one space from 
the top. 

Note— The two parts are joined by a sharp turn which, executed by free continuous movement, 
causes a loop. E does not look well if begun by a right curve beginning stroke. 

69. Zhas the 2nd principle (oval) and a special mark at the base, rightward one- 

half space with a free extension down. 

Note— The free joining of the special mark and the principle causes a loop. 

70. Specimen No. 13—Instruction as before. 




22 


MANUAL OF METHODS. 


FOURTH LESSON. (Backward on the Chart.) 

71. P has the 4th principle and the 2nd principle joined in a round turn at the 
base (the principle is clipped of the lower half), or P has the 1st principle to which 
is joined (by a short turn) the 2nd principle, as explained above. 72. D has the 4th 
principle to which is joined (by a sharp turn) the base and right side of O. 

Note—T he joining is a sharp turn which, executed by free continuous movement, causes a loop. 
This is the only capital letter that has a main part made upward, we therefore do not call it a 
principle. 

73. T has the 4th principle (short) with a cap fitted over it, for a cross. 74. A has 
the 4th principle and the 1st principle, without connective element, and a special 
mark crossing up about three-fourths of a space. 

Note—A may be ist principle with a beginning stroke. 

75. W has the 2nd principle and the 1st principle, compound, including the con¬ 
nective element. 

76. Specimen No. 14. 

FIFTH LESSON. 

77. R has P with a direct stroke almost vertical, joined by a sharp turn which, by 
free movement, causes a loop. 78. A has the 3rd principle and the small 1st princi¬ 
ple one-half space shorter. The two are joined at the base by a semi-round turn. 
79. F has T and a special mark at mid-height. 80. H has the 1st principle finished 
leftward at the base, preceded by the right curve beginning stroke, and it has the 3rd 
principle (direct) one space rightward. The two principles are connected about 
three-fourths of a space up by a special mark like the one in A. 81. N has the 4th 
principle and the 1st principle, compound ; L neither principle has the connective 
stroke. 

82. Specimen No. 15. 


SIXTH LESSON. 

83. B has the 4th principle and the 2nd joined at the base by a round turn. The 
2nd principle is broken in at mid-height and finished leftward in a dot first crossing 
the turn. The 2nd principle is brought just a little lower than the 4th, say one-fourth 
of a space. 84. G has the 3rd principle down only two spaces, compound, ending up 
one-half space, to which is joined by a sharp turn the small 1st principle one and one- 
half space high and extended leftward ending in a finishing oval; or G may be the 
oval A with a free extension down 85. &. 86. iFhas H, omitting the special mark 

but the second part is broken to join the first part up half the height of the letter. 
87. M has the 4th principle and the 1st principle without connective element, and 1st 
principle with connective element, joined by very short turns. 

88. Specimen No. 16. 

89. Specimen No. 17—(This specimen consists of writing the names of towns,, 
each begun by a different letter of the alphabet.) 

For further dictation for specimens, see the Advanced Chart Book. 



VERBAL ANALYSIS. 


23 


TURNS. 

Turns are the joinings of strokes; they are close turns or free turns. 

Close turns are the result of the pen stopping and starting back at the same 
point. We call this a sharp turn (angle.) 

Free turns are the result of the pen moving continuously. They are short or 
round (oval) turns. Short turns occur in small letters, and round turns and short 
turns in capitals. 

1 he short turns should not be quite so short between small letters as between 
parts of letters. 

Turns cause apparent elements that are not real elements, hence, they should be 
considered as resultants. In joining a 1st principle and a 2nd principle the merging 
from one to the other by way of a short turn causes a compound curve, apparently, in 
the connective element of the 2nd principle, but this should not be an object of 
thought or effort as it is the unavoidable result of passing from one principle to the 
other in a free turn. 

Very free movement in close (sharp) turns often results in a loop. This is es¬ 
pecially the case where the turns are very sharp or the strokes are carried beyond 
the point of joining. Turns should be an object of thought and effort in writing in 
close movement. 

TURNS IN PRINCIPLES. 

The connective element and the main element of the small 1st principle are 
joined by a close (sharp) turn; of the 2nd principle, they are joined by a free (short) 
turn, and the elements of the 3rd principle are joined by a sharp turn. 

The two parts of the capital 1st principle are joined in a very short turn, just 
enough to avoid a sharp turn. The two parts of the capital 2nd principle are joined 
in a free (round) turn. 


SHADING. 

The shading on strokes requires skill which is acquired only by considerable 
practice. In this division of the course, it is better to omit all shading except where 
it is needed to cover a loop that may otherwise occur in an extension; these letters 
are those of the second group. Shading should be omitted, unless it can be well 
done. 

It will be noticed that all the shades for capitals are on the principle. 

Practice on the principles, observing the following, will make one able to master 
the letters without much trouble. Make the principles in one stroke, dashing through 
the shade so as to give an impetus to the pen that will carry it back almost naturally. 
For the shade on the 4th principle, bring the pen down as if you intended it to 
come straight to the base in a blunt shade; this direction and shade, abruptly modi¬ 
fied by merging into the final oval leftward, results in a graceful shade on the joining 
curve of the two elements. The other shades are begun as near the top as possible. 


SPACING. 

Small letters are a space apart, with the turn slightly broader than between prin¬ 
ciples in the same letter. A small letter begins one-fourth space from a capital be¬ 
ginning a word. Words are two spaces apart, i. e. the first stroke of a word should 





MANUAL OF METHODS. 


24 


begin directly under the point where the finishing stroke of the preceding word ends. 
Sentences should be three spaces apart. 

Much depends on the spacing. The spacing should be so that the words may be 
distinguished as units, when the page is too far from the eye to read, but it should 
not be so that the words are any farther apart than necessary for this purpose. For 
the sake of appearance and ease in writing, the spacing should be uniform. 

SLANT. 

Although all copies should be uniform in slant, there should be a great deal of 
latitude granted to the individual, provided that the slant is never less than 52°, with 
the base line. The slant of the strokes should be uniform in the writing of anyone. 

ANALYSIS FOR WRITING. 

BY STROKES. 

A stroke is one impulse of the pen, and it may be continuous, broken, or it may 
revert; it is simple, complex, or compound, accordingly. 

In joining strokes written to count, the pen must have a continuous movement; 
the time occupied in making the stroke corresponds to the time occupied by the 
count and the time occupied in making a turn corresponds to the interval between 
the counts. 

Slower count should be made so by longer intervals and not by prolonged counts. 

Joinings of strokes are close and tree. A close joining causes a sharp turn and 
occurs at the top of the 1st principle, after compound strokes, and in close extensions, 
and where a 2nd principle follows a principle in the same letter. A free joining 
causes a short turn and occurs at the top of the 2nd principle, in free extensions, and 
where one principle follows another, except where a 2nd principle follows a principle 
in the same letter. 

The strokes in small letters are connective strokes, main strokes and finishing 
strokes. 

A connective element, a connective element and a trace of an extension, or a 
retrace of an extension and a connective element, is a connective stroke. 

A main element, an extension and a main element, or a main element and an 
extension is a main stroke. 

A final element is a finishing stroke. 

COUNTS. 

Rule— Connective strokes receive the count one , main strokes the count two, and 
final strokes the count three. 

Note —A word may receive as many counts as it has principles as soon as the form of the letters 
have been learned by strokes. A principle represents two strokss. 

CLOSE COUNT, 

SMALL LETTERS. 

Count by Stroke— 1, 2, 3.—i, x, c, e, t, t, 1, j, s, r, v, o, b, f, z. 1. 2, 1. 2. 3.—u, 
n, a, d, p, h, y, g, w, k, q. 1, 2, 1, 2, 1, 2, 3.—m. 

Note —In counting for compound strokes the syllable y added indicates the movement better. 

Count to Write by Principles —Each principle receives the counts (one 
two) in quick succession, the intervals being marked between the principles in¬ 
stead of between the strokes. For writing man, count 1 2, 1 2, 1 2; 1 2, 1 2; 1 2, 1 2, 3. 
For writing wave , 1 2, 1 2y; 1 2, 1 2; 1 2y; 1 2, 3. 

Note— Man may be written to the count i, 2, 3, 4, 5, 6, 7, and wave to the count 1, 2, 3, 4, 5. 6; Ms 
is making one count instead of two for each principle. 



ANALYSIS FOR WRITING. 


25 


CAPITALS—(SEE CAPITAL CHART FOR THE ORDER.) 


N 1 2, 1 2, 3. M 1 2, 1 2, 1 2, 3. J 1 2, 3. V 1 2y. U 1 2, 1 2, 3. Y 1 2, 1 2, 3, 

1 1, 2 3. SI, 2 3. L 1, 2, 3. O 1, 2y 3. C 1, 2y 3. E 1, 2, 2y 3. Q1 2, 3. 

X 1 2, 1, 2 3. Z 1 2 2, 3. P 1, 2 1 2. R 1, 2, 1 2, 2 3. B 1, 2 1 2 2. D 1, 2, 1, 3. A l, 

2, 1 2, 3. G 1, 2y, 2 3. T 1, 2 3; 1, 2 13. F 1, 2 3; 1, 2 1 3; 1 2. A 1, 2 3, 1, 2, 1, 

2 3. H 1, 2 3, 1, 2, 1, 2 3. K 1, 2 3, 1, 2 2, 3. W 1 2, 1 2y. N 1, 2 3, 1, 2y 
M 1,2 3,1,2,12, 3. 


Note—T his is very close count. For principles begun at the top we count “i” for placing the 
pen. This may be changed to freer count as the pupil learns to execute the forms. 


WRITING TO MUSIC. 


Writing by stroke to regular time is one of the very best means of learning to 
write. 

Music is the best way for marking the time. It suggests a continuance of move¬ 
ment, and the joinings of strokes in graceful turns. It is inspiring and never grows 
monotonous. 

The system of strokes which we adopt makes it possible to write all letters to 
the same time, hence the individual pupils may write different exercises to the same 
music or other methods of marking time. 

The accompanying pieces of music were especially prepared for this manual by 
Miss Nellie E. Purdy, of Chicago. They are very appropriate little marches for 
school purposes in general, but especially appropriate for the writing exercises. 
No. 1 in 4-4 time, suggests writing by stroke deliberately, and is better suited for 
beginners writing the small letters. No. 2, in 6-8 time, suggests writing by principles, 
and is better suited for capitals, but all letters, small and capital, may be written to 
either piece of music. 

Law.—The main (down) strokes, simple or compound, should be executed to the 
accent of the music. 

Note—B roken strokes may be considered two strokes, by pupils learning the letters for the 
first time. 









26 


MANUAL OF METHODS, 


No. 1. 


NELLIE E. PURDY. 


Tempo di Marcia. 































































































































































































































































































music for writing to time. 


27 





Music as a Factor in Learning to Write (Extract). 

Henry W. Brown, M. S., in “ The Western Penman.” ' 

Fortunate is he who possesses a natural sense of rhythm, or musical time— 
especially if he aspires to become a skillful manipulator of the pen. A musical ear 
next to an eye for beauty and symmetry, is the sine qua non of chirographic excellence- 

Especially is a sense of rhythm in sound and movement pleasureable, as well as 
valuable, when, for practice purposes, a given letter is ranged continuously, in com¬ 
bination, across the page. At such times the ear seems to do the work of the eye and 
sound alone assures to one either the success or failure of a letter. 

The well tried counting method is valuable for the guidance of beginners in ac¬ 
quiring the proper swing of any given letter and it should always be used by the 
wide-awake teacher ; yet its influence is from without, and the arm of the pupil re¬ 
sponds often but tardily to the “one, two, three,” of the instructor. But let a familiar 
air be played upon the piano, violin, or even the harmonica, let the student get “the 
tune in his head,” and the result is different. The mind more fully anticipates the 
beat, and the arm responds more alertly to the one, two, three, from within, which the 
person of musical sensibilities always feels in the hearing of a pleasureable abd 
familiar air. 

Hence the measure and beat of an appropriate tune, when possessed by the 
mind, may constitute for one a systematic throb to which the arm is the willing and 
concurrent agent in the practice of a movement exercise; and who shall say that 
penmanship may not yet take a place with dancing in the pleasure thus to be afforded, 
in its exercise, while far surpassing it in the actual benefit to be derived. 

New Hampton, N. H., Literary Institute. 











































































































































‘28 


MANUAL OP METHODS, 



No. 2. 

NELLIE E. PURDY. 
































































































































































































































































Approval By MAkkiKd. 




MARKING. 

In order to carry out an individual plan conveniently in every respect, it is 
necessary to have a system of indicating the approval of the teacher by marking. 
The teacher passes along the aisles, always the same way, rather quickly, saying no 
more than a word or two to any one pupil. Our method is to touch the pupil whose 
work we may speak a word of criticism about, with a pencil, so that he understands 
that his work is meant and others understand that it is not their work that is meant. 
If we see that any one has succeeded with his exercise, we place a private check 
mark over the last line of his practice, unless his exercise be a specimen ; these we 
do not mark during the writing period, but at the close of the period, a monitor takes 
up all finished sheets which consists of practice sheets that are regularly filled on 
both sides or specimen sheets with specimen written on one side, and places all on 
our desk for inspection. We glance through the practice sheets and if any are very 
nice we retain them for our sample evelope and keep them until they are displaced by 
better ones. If any show unmistakable marks of heedlessness, we keep them to remind 
us that the pupil is to be detained to make a neater practice sheet; this is seldom 
necessary. Before the writing period the next day, we examine the specimen sheets 
and if we can approve a specimen we place a check mark at the top of the sheet, 
about the middle if barely passable, but on the right margin line if as good as should 
be expected of the pupil, and between this and the middle to indicate relative de¬ 
grees of proficiency. If the specimen does not meet with our approval we do not 
mark it at all, or we place a large cross-mark on the work. 

We have a place to keep these specimens, which do not average more than five 
or ten a day in a school of fifty, unless the interest becomes intense and pupils 
practice at other times than the regular writing period. When time comes for the 
writing period, the monitor steps to our desk and takes the specimens and distributes 
them to the owners, who must file them, if they have the mark of approval, as a 
register of the progress of each pupil. If any specimen be exceptionally correct and 
neat we take it for our sample envelope, which we keep at our desk. We 
limit the number to a few of the best, say ten or twenty, and we may displace speci¬ 
mens at any time by better ones and return the displaced ones to the owners. 

Note—B y the use of the sample envelope any visitor or official may be able to judge of the 
writing of the school by merely glancing at the samples. 

In order to avoid holding some too long on their exercises it becomes necessary 
to have in mind different standards of proficiency, which we call degrees, so that if 
the pupil’s work be approved, he and others may know the degree of his proficiency. 
This can be exercised so that the marking may never be unsatisfactory to any one. 
(See Degrees of Course.) 

It is not often necessary to mark the degree of the work as this is generally 
understood, an entire grade working in the same degree, but this is to meet excep¬ 
tional cases, and, if necessary, we mark the degree by placing the figure that indicates 
the degree in the left upper corner of the sheet. 

Observing the method of marking and filing specimens, closely, is a most effec¬ 
tive means of keeping up interest and inducing pupils to put forth their best efforts. 
The marking may be entrusted to a monitor, with the understanding that pupils 
have the right to appeal to the teacher. 




DRILL EXERCISES. —From Advanced Chart Book. 


i 


§5 MANUAL OF METHODS, 
















PART II. 


FOURTH DEGREE.— (Regular Course.) 

Free movement is a requirement in this, the Free movement Division of the 
course, and the entire course as written and learned by each pupil in close movement 
is now to be reviewed, with the purpose of writing the specimens in free movement. 

Some simple, free movement exercises may be practiced occasionally by pupils 
in the Close Movement Division of the course, but any such exercises should be very 
judiciously and sparingly used by beginners. We would not present anything for 
their practice more difficult than the long connective exercises with e and o, or the 
rapid writing of short words, and for those pupils using the Intermediate Chart Book, 
nothing more difficult than exercises 27 and 38 in the Exercise Chart, and the occa¬ 
sional practice.on the rapid writing of words. We permit pupils using the Primary 
and Intermediate books, to write their specimens in close movement, which does not 
mean incorrect movement, but correct movement by strokes. Observe, we say per¬ 
mit pupils to write their specimens. We do not prohibit them from writing their 
specimens in free, rapid movement if they can do so and maintain good form. 

But when they take up the Advanced Chart Book we try to induce free move¬ 
ment by drills, and require pupils to write specimens rapidly. 

While we require a good, firm, legible hand in this division, we are not so 
exacting with regard to form as in the close movement division of the course. 

We induce rapidity in various ways. 

We may ask pupils to write a figure, letter, word or sentence as many times as 
possible in one, three or five minutes (we require these exercises written in groups 
of four and separated by a space) or, we may count 1, 2, 3, 4 for a group of a figure, 
letter, word or sentence, thus one, two, three, four for an exercise written four times ; 
we stand by one of the best writers, or write while we count, that the count may not 
be too slow nor too fast. 

In this rapid writing we do not give credit for any poor work. 

If a pupil can not do good work in rapid writing, we assign him one of the exer¬ 
cises to practice in rapid movement, selecting the one which we consider the most 
suitable for him, and require him to practice it until he can make it, then allow 
him to try his regular exercises again. Possibly we might require him to write the 
entire course in close movement again, in order to learn to execute correct form and 
write neat pages. We seldom drill classes on the special drill exercises in the Exer¬ 
cise Chart, nor require them of any pupil who can write rapidly, legibly and easily with¬ 
out. We permit pupils to practice on them if they desire to do so, in order to better 
prepare themselves for writing their specimens. Exercises 7, 8 and 9 may be prac¬ 
ticed, just for general development of the muscles used in writing. These exercises 
may be written to the music in close movement or be written in free movement. 

Preparatory to writing the ten specimens with the Small Letter Chart in free 
movement, we require the corresponding ten script words accompanying the fore¬ 
going Exercise Chart to be learned. We consider drill on these words in free, rapid 
movement of qiuch more importance than drill on the exercises above them. 


FIFTH DEGREE .—(Irregular Course.) 


32 




MANUAL OF METHODS. 



Prepared tor this Manual by C. A. Faust, Penman, Chicago Business College. 








CHOOSING AN INDIVIDUAL HAND. 


33 


FIFTH DEGREE. 


This division is set apart for advanced penmanship of all kinds, but as the 
province of this book does not extend beyond practical writing, only such instructions 
as pertain to the advanced study and practice of business writing, are given. 

Choosing an Individual Hand. —Every person should be granted the privi¬ 
lege of writing a hand that he would rather write than any other, but in his selection 
he should be careful as to legibility, continuity, ease of execution, and appearance of 
the written pages. Although a standard style must be used in school in order that 
the teaching and practice may be uniform in kind, any systematic style that will 
stand the tests of legibility, rapid writing, and pleasing effect, must be accepted as 






good writing, and if any one, a boy or girl twelve years old, may have acquired an 
individual hand that will stand the tests of good writing, it would not be wise to have 
him change it; but, before accepting his hand , the teacher must see that his 
writing stands the tests in the very highest degree. Persons who have, from copy or 
native ability, acquired such a hand, stand in the same relation to the regular course 
that one does who has finished it. After the regular exercises in the course have 
been completed in the fourth degree the pupil may begin the work of adopting modi¬ 
fied forms of letters and even a modified hand. 

Letters are Modified by omitting the secondary strokes or elements, or 
substituting a dot or oval for them, all of which must be done with reference to the 
tests of good writing. 

In writing a vertical hand, the connective element of the 3rd principle may curve 
down instead of up, but great care must be exercised in this; the distinctive feature 
of the 1st and 2nd principles must be maintained. All advanced movement exer¬ 
cises or combinations should be confined to those practicing in this degree. 

All writing in this degree must be done by a free continuous movement, and 
rapidly, and be of the highest degree with reference to all the phases of good writing. 
The exercises are not taken up in any regular course by those practicing in this de¬ 
gree. Teachers may give instruction and drill occasionally in the fourth or fifth de¬ 
gree work, to pupils working in the third degree. 

s The accompanying illustrations are merely suggestive of the liberty granted in 
this part of the course. Back hand is permissible by left hand pupils, and vertical or 
slant, by any pupil, no matter what style is being used as the text. 





PART III. 


TO THE TEACHER. 

Insist on 

Correct Position. 

Correct Penholding. 

Writing to Time. 

These essentials must be explained till definitely understood, then 
special drill upon drill for each must follow until they become habits in 
the child’s writing. 

Writing Correct Form. 

This may be brought about by close study and very careful marking 
on the part of the teacher. Definite instruction and energetic drills will 
greatly aid the pupils in their regular individual course. 

Neat Page Specimens. 

In all the preceding exercises keep the neat page in view and allow 
nothing but regular work from left to right and from line to line, writing 
one single exercise at a time. In writing the specimen no letter must be 
used that has not been well learned. Hold each pupil on his specimen 
until every feature is correct. Spacing between words and sentences 
must be noticed closely. The name of place, date, pupil’s name, etc., 
must be written in the proper place. No specimen should be approved 
if it shows any signs of carelessness. If objections are raised about hav¬ 
ing to write the same specimen over a number of times, your answer 
should be that you are requiring the pupils to learn all about writing and 
that the proper time to learn it is at the first opportunity, that inaccura¬ 
cies may not be practiced until they become so fixed that they cannot be 
broken up. 

Why Insist on These. 

* It is Easier. 

It is always easier to make a high ideal definitely understood by 
pupils, and the incentive is much stronger when something worthy or the 
pupils’ best efforts is held up and maintained. Many pupils are just 
waiting for such chances; they don’t enjoy credit for work that they know 
is not their best, and they do not desire to do their best unless they fully 
expect due credit. 





TO THE TEACHER. 


35 


It Assists You in Teaching. 

No branch shows up the real understanding and work of the pupil, 
as well as that of the teacher, so much as the writing. Other branches 
are as poorly taught and as poorly understood as writing, possibly, but 
this can not be so easily seen. Teaching writing and drawing is to 
you, a continual object lesson of your general ability to teach. 

It is Manual Training for All. 

No other branch, except drawing, provides manual training, in most 
of the schools. All manual training should be of the very highest' order, 
on account of its relation to all practical affairs of life. Work well done 
in one department of manual training begets like efforts and results in 
all other departments, and vice versa. 

TO SUPERINTENDENTS. 

Keep Sample Envelope 

On the Teacher’s Desk. 

This Sample Envelope, should have in it a limited number of the 
best specimens written by the pupils. It should be made a live thing 
by a plan of displacing specimens, after the prescribed number has been 
reached, by better ones. 

In Superintendent’s Office. 

The same rules should govern the sample envelope in the superin- 
tendent’s office, but the teacher’s sample envelope should be the source 
of supply. 

This sample envelope should be examined by all teachers whenever 
they have the opportunity, just the same as the teacher’s sample envel¬ 
ope should be examined by the pupils of the respective schools. 

MATERIAL. 

The materials or means by which writing is done in school are paper, ink and 
pen or lead-pencil; slate and slate-pencil, and black-board and crayon. Any or all of 
these three sets of material may be used to advantage. 

Form is the controlling feature in writing, for if a pupil learns it by any of the 
three ways, he will be able to write it by the others, if his position and manner of 
holding the instrument are not so contorted as to make it impossible. The form- 
impress in the blind shows the same, whether scratched on a slate by a pin or marked 
in the sand or snow by a walking cane. The touch and manner of manipulating a. 
pen or pencil must be learned by using it. 

A pen-holder or pencil should not be slick; if it is, remedy it by wrapping it with 
a thread. For beginners, the pen should be stiff with a smooth point or touch. Ink 
must not be too thick to flow easily. 

■ POSITION. 

The position of body, arms and hands in relation to the paper is of first impor¬ 
tance. Sit with the body free from desk or any contortions of the muscles of the. 
body, place both arms on the desk at right angles and rest them on the arm-rest , the 
heavy muscles in front of the elbow, if possible. Place the paper straight under the 
arm and write in lines at right angles to the line of the right fore-arm. 




36 


MANUAL OF METHODS. 


PEN-HOLDING. 

Correct pen-holding consists in holding the pen-holder against the fingers by the 

thumb; incorrect pen-holding consists in 
holding the pen-holder against the thumb by 
the fingers. In correct pen-holding, the 
thumb is bent; in incorrect pen-holding the 
finger is bent. Unstable pen-holding is the 
effort to hold the pen by placing the ends of 
the thumb and finger opposite on the holder; 
this causes the thumb and finger both to be 
bent, and is incorrect. The hand should be 
in shape as if holding an egg with the little 
end down. The shape of the hand, and the 
pen-holding must be approximately correct. 

PRACTICE. 

The practice must have a definite aim 
at all times. Practice one exercise at a time, with reference to mastering it, in such a 
regular manner that the paper on which it is written will present a neat , regular 
appearance. 

DEGREES. 

To assist the teacher to make distinctions as to the ability of the pupils, and to 
authorize, as far as possible, an adherence to practice on the proper exercises, by the 
pupils, we consider the course in five degrees, termed the first, second, third, fourth 
and fifth degrees. 

First Degree .—Pupils in the first degree are expected to learn to make the letters 
and write short words legibly, and with a fair showing of system in the form of letters. 
The drill exercises should be confined to making the figures, especially 1, 4, 7. Pupils 
may not be required to write page specimens 

Second Degree. —In this degree, pupils of the second primary grades should learn 
to write a systematic hand with a fair stroke movement, and they should be required 
to do good page work by writing all the specimens connected with the small letter 
•chart, using words of medium length. The drills should include all the exercises in 
the exercise chart in the primary Chart Book. 

Third Degree. —The work of the pupils considered in this degree, comprises a 
•complete course in writing. Pupils in the first and second degrees are expected to 
learn capitals, for temporary use, but in this, the third degree, they are expected to 
learn all letters and figures thoroughly and to write the specimens in neat, page form. 

The drills should include all the exercises in the Exercise Charts of the Primary 
and Intermediate Chart Books. 

Fourth Degree. —Pupils writing in this degree, write the same course prescribed 
for pupils in the third degree, but are especially required to write it rapidly, and main¬ 
tain legibility and neatness of page. The drills should be the writing of words rapidly, 
«and they may include practice on the drill exercises in the Exercise Chart of the 
Advanced Book. 

Fifth Degree. —Pupils in the other degrees are expected to write the regular 
course individually, as outlined in the Chart Books, but in this degree, the few min¬ 
utes that may be devoted to writing may be given to drills to give more scope and 
freedom to the movement; and to the discussion of individual styles of writing, 
and to criticisms on each pupil’s style. 














WRITING PERIOD. 


3T 


The Primary Chart Book comprises the course in the First and Second degrees. 
The Intermediate Chart Book comprises the course in the Third degree, and the 
Advanced Chart Book comprises the course in the Fourth and Fifth degrees. 

The Third degree may be considered a complete course for the public schools, 
and it is doubtful whether more advanced work should be attempted, unless it 
be under the guidance of a special teacher. 


WRITING PERIOD. 

(TWENTY MINUTES.) 

(1) “Writing.” Call by teacher. 

(2) Pupils get ready for writing. 

(3) Drill on some exercise or give some instruction, four minutes. 

(4) “Pupils, write your regular exercises.” 

(5) “Attention.” 

(6) “Regular exercises.” 

(7) “Close.” 

(2) When the signal is given, it is well to time the pupils in getting ready.- We 
have seen schools, where books and all material were kept at the pupil’s desk, get 
ready in fifteen seconds after “writing” was called, at a time, irregular, when they 
were not looking for it. We have seen other schools, where books were collected and 
distributed, get ready in one minute. 

(3) The teacher may decide on a regular course of instruction and a regular 
course of drill, and alternate them, giving instruction one day and drill the next. It 
would be well to take a lesson one day and explain the form of letters by analysis or 
illustrations on the blackboard, and take the same lesson the next day and drill the 
pupils on writing the letters and a word by strokes to count. Then teach another 
lesson the next day and drill on it the following day. Pursue this course until all the 
lessons have been passed over without any reference to the regular exercises of the 
pupils. Then the same course of instruction and drill might be given over again 
very profitably. This part of the period should not take more than five minutes. 

(4) When this signal is given, each pupil is expected to know just what he was 
doing the day before and to begin with the same exercise and on the same sheet that 
he used the day before, if it were not finished. The teacher passes along the aisles 
observing the work of the pupils who are busy, only. No one should be allowed to 
stop to show his writing for it is his business to practice during the time, and it is the 
teacher’s business to see and criticise the writing and the manner of doing it. The 
teacher should pass along quickly correcting a fault here, another one there, and using 
the correct terms to indicate what element is faulty, or telling what may be wrong 
with the penholding, position, or manner of movement, and checking all exercises 
which pupils may have succeeded in making correctly. No pupil should be permitted 
to practice more than one letter or word at a time for a practice exercise. 

(5) Pupils are apt to fall into bad habits of position, and it is a good plan to call 
attention, in the midst of the regular work, and spend a moment in some kind of 
drill that will straighten them up and give new vigor. 

(6) The teacher should pass around again criticising and marking practice 
exercises only, as before. 

If the teacher does not feel inclined to give class instruction or drill, the whole 
period may be taken up with regular exercises, and the teacher give all instruction 
individually, in a quiet manner. Pupils like this plan better than the other plan, for 




38 


MANUAL OF METHODS. 


they prefer to be let alone with their regular exercises, but good class instruction and 
drill of a few minutes daily is productive of better results. 

(7) At the signal, “close" pupils should use blotters, wipe pens, and close ink¬ 
wells, then proceed to put all paper in the book, but finished sheets, and place books 
away; monitor should take up all finished sheets left on the desk, which should con¬ 
sist of practice sheets written full on both sides, and specimen sheets with a specimen 
written on one side only. The monitor separates the specimen sheets and practice 
sheets and places them on the teacher’s desk. The teacher makes observations 
about the practice sheets, and before the next period marks a per cent, at the top of 
the specimen sheets indicating the grade by the location of a check mark. See 
Marking. 

A monitor may attend to all collecting and marking and distributing of sheets, 
but any one not satisfied with the marking may appeal to the teacher. Pupils may 
be permitted to practice writing at other times and place specimens in a No. 1 pocket 
at some convenient place in the room, where the teacher or monitor may get them 
and mark them and place them in a No. 2 pocket, where the pupils may get them at 
any time they wish. 

PRACTICE SHEET. 



This is a section of a practice sheet, showing the practice sheet when the pupil’s 
regular exercise was c. It illustrates how a pupil may write on the lines, and invert 
<The paper and write on them again. It also shows that the sheet was afterwards used 
as a drill sheet for writing the letter m in free movement. 



KEY LETTERS AND PRINCIPLES. 


39 


PRINCIPLES. 


The different principles in writing are determined by peculiarities of down 
strokes. There are just four classes of down strokes which for immediate use in ex¬ 
planation we will term first 


DIVISIONS. 


1 


/ 


third 


7 


1 


1 

5 

3 




r 


i 







Key Letters (Simple). 





Key Letters (Compound). 


STS' 


stroke, second stroke, 
stroke and fourth stroke. 

The first stroke is direct from 
the top, the second stroke is 
direct or oval from a rightward 
move at the top, the third stroke 
is direct or oval from a leftward 
move at the top, and the fourth 
stroke is a compound curve. 
(In letters it is as direct as pos¬ 
sible to preserve the left¬ 
ward move at the top and 
base.) 

The figures 1, 2, 0 and 8 repre¬ 
sent these four strokes in a 
general way. 

Each stroke may be simple 
or compound, and occasionally, 
complex (broken). 1 (one) re¬ 
presents simple strokes. 0 (ci¬ 
pher) represents compound 
strokes, and 3 (three) represents 
complex strokes. 

Up-strokes preceding and 
joined to these down strokes are 
necessary in the use of small 
letters in words, and occasion¬ 
ally in joining two down strokes 
in the same capital as in M or 
W. In Q, and one form of A, 
t is essential to the formation 
of the letter. Up-strokes may 
precede down-strokes, merely 
as beginning strokes, as in S,or 
in marking the path of the pen^ 
passing from one down stroke 
to another, as in P. 

Law—R ight-curve up-strokes precede the first and fourth strokes, and left-curve 
or oval strokes precede the second stroke, and right or left curves precede the third 
stroke. 

Note— A very slightly left-curve stroke precedes the stroke in capital I. (See Analysis.) 
Principles generally include the up stroke. Small principles always include an 
up stroke and a down stroke below the point of joining. Should a down stroke not 
be accompanied by an up stroke the down stroke is the principle. 

*We class s with the ist-principle letters, because it is the only small letter that has the 4th prin¬ 
ciple, and because it is so closely allied to the first principle. 



Principles (Compound). 












40 


MANUAL OF METHODS. 


The principles are given in the accompanying illustration as they most often 
occur. 

Standard small principles are of the minimum height of letters, and standard, 
capital principles are of the maximum height of letters. 

Note —The principles in figures are simply down strokes. The standard principles of figures, 
found in 1, 2, o and 8 , respectively, are one and a half times the height of standard small principles. 

Principles are simple complex or compound, as their down strokes are simple 
complex or compound. 

The accompanying chart classifies figures, key-letters and principles in the four 
natural divisions. 

It will be observed that the key letters, with finishing strokes and special marks 
omitted, are the standard principles, and that the small key letters corresponding to 
certain principles each has its cognate in a capital of the same name, that corresponds 
to the same principle for capitals. 

The figures, key letters and principles should be practiced in various ways. In 
close movement or free movement, single or connected, or by continual repetition 
without raising the pen, either in the same form, from four to six times, or by a right- 
ward movement so that each form is cleared by the succeeding one. 


MOVEMENT. 

For school purposes we take the term movement in its general sense, and use 
the qualifying terms close and Jree, which apply particularly to the way the writing 
is done. 

We believe the safest road to correct movement is the practice over and over on 
the execution of correct forms, with the position and penholding correct, and we be¬ 
lieve that any discussion of movement in the school room is not productive of good. 
We induce the correct manner of movement by drills on exercises, which we prefer 
to term drill exercises, and we develop scope and freedom of movement by practice 
on a few exercises in a systematic way, but we advise teachers who have not mastered 
such exercises themselves to use them very sparingly, for in reality the duty of 
teachers of the public schools is done, when all the pupils have learned to write a 
neat, legible hand, and can make a neat, pleasing page with some degree of dispatch. 

What can be the meaning of this expression which we often hear? “He has 
good movement, but he can’t write well.” The only movement that can be good 
movement is the movement used in making good writing. Good movement can not 
be taught, but it can be developed or acquired by practice on correct form. 

As to kind, movement is finger movement, hand movement and arm movement. 
As to manner, movement is close movement or free movement. 

Any of these movements may be correct or incorrect; if incorrect the form will 
be incorrect and vice versa. 

Finger Movement is the movement of the fingers only, to direct the course of 
the pen. 

Hand Movement is the movement of the hand, as a unit, to direct the course 
<5f the pen. 

Arm Movement is the movement of the arm, as a unit, to direct the course of 
the pen. 

, Correct finger movement is mostly a straight action of the fingers up and down 
on the main slant and it must be accompanied by the hand movement, otherwise 
nothing but a straight mark would be the result. 



MOVEMENT DRILL EXERCISES. 


41 


Correct hand movement is the movement of the hand with the pen, as a unit, in 
executing all latteral and curved strokes, or entire capitals. It must be accompanied 
by a corresponding movement of the fore arm from the elbow. 

Correct arm movement is the movement of the whole arm to execute all forms. 

Note—A rm movement may be that of the arm resting on the arm rest in front of the elbow, or 
with the arm clear from the desk, 

The best kind of movement is the combination of these three movements, which 
the pupil will naturally acquire, when the course of instruction and practice is fol¬ 
lowed as laid down; but pupils may be assisted by the use of the foregoing terms in 
explanation of the different movements. 

Close Movement is directing the pen with effort to execute form while study¬ 
ing it. Sharp turns and close extensions are results of close movement. 

Free Movement is directing the pen without any apparent effort to execute 
form, and is used in writing words and capitals after the forms have been well learned. 
Short turns, oval turns and loops are results of free movement. 

Close movement should be by strokes; it should not be by drawing the lines 
slowly except by small children that are required to learn to write in a few weeks. 

In free movement, letters or words are comprehended as units. 

Muscular movement is a term used by penmen to describe the practice in which 
the heavy muscles in front of the elbow are trained to bear all the weight of the arm 
and hand and direct all the movements of the pen, in short, do all the work of writing, 
except to hold the pen loosely in the hand. 


MOVEMENT DRILL EXERCISES. 



These drill exercises are the four capital principles written continuously from 
left to right. All such practice should be regularly written on the page. It does not 
avail anything to practice on exercises like these for less than an hour, at least half 
an hour, at a time, and the practice should be. one, two, or three times a day. Such 
practice is impracticable in the public schools, where only fifteen or twenty minutes 
can be devoted to writing daily, unless the pupils may be induced to write them at 
home and bring their work to school for the inspection of the teacher. 







42 


MANUAL OF METHODS. 


EXERCISES. 

An Exercise is any single letter, word, figure or specimen to be written. 

As to the manner of conducting exercises in school they should be distinguished 

as drill exercises and regular exercises. 

A Drill exercise is one conducted by the teacher, requiring all the pupils to 
write the same exercise in unison to time. 

Regular Exercises are those of the regular course and are understood to be 
the individual exercises of the pupils, followed up one at a time until learned. 

As to intention, exercises ar practice exercises or specimen exercises. 

A Practice exercise is the writing of a single letter or word, preparatory to 
writing a specimen containing the letter or word. 

A Specimen exercise is the writing of a page of words or sentences. 

As to kind, exercises may be distinguished as figure exercises, letter exercises, 
word exercises or sente?ice exercises. 

A Figure exercisers the writing of a single figure. 

A Letter exercise is the writing of a single letter. 

A Word exercise is the writing of a single word. 

A Sentence exercise is the writing of a single sentence. 

Exercises may also be distinguished as pen-holding exercises, position exercises 
or movement exercises. 

A Pen-Holding exercise is one so easy to execute that the pupil may make it 
and devote his efforts to pen-holding. 

A Position exercise is one calculated to interest the pupil so that he will be 
impelled to take the best position. 

A Movement exercise is one wholly intended to induce and establish better 
action of the hand and arm in the use of the pen. 



PENHOLDING EXERCISE. 

//////// 
//// //// 


Learning to hold the pen requires a new use of the thumb, which, like all 
other muscular action requires attention and effort for some time; for this reason 
the exercises for practice should not be of a kind that requires much effort and 
attention. 

The exercises of dots and straight lines (Figure one) are given merely as sugges¬ 
tive illustrations. 

The writing of entire letters or words is too difficult for the pupil who has not 
learned to hold the pen. 

The first step in learning the regular course should be that of holding the pen. 





43 


POSITION AND MOVEMENT EXERCISES. 


POSITION AND MOVEMENT EXERCISES. 


Forms. 



The exercise on the opposite page is a pen-holding exercise. The above are 
position, pen-holding and movement exercises. The figures are to be written in the 
order indicated by them. These are forms : 1, 2, 3, 4, is the “two" form, because 
it writes two lines at once; 1, 2, 3, 4, 5, 6, 7,8, 9, is the “three" form because it 
writes three lines through at once. 

The ovals are written in the “three ” form and they suggest the writing of any 
exercise in these forms if a pupil needs it to help him in his position. 

In writing a letter or a word in the forms, the lines and columns must be kept 
straight and the form of letter correct. It is left with the teacher to designate which 
pupils must write regular exercises in any of these forms. A form may include 16, 
25, 36, 49, etc., places. It is a good practice to fill a form of 81 places, with the 
numbers to 81, inclusive, omitting of the ten’s figure. 


Designs. 


Ns 



The lines are indicated by the figures in the 
order they should be written. The first design 
requires that the paper be moved seven times 
after the first line is written. The second de- 
sign on page 44 requires that the paper be 
moved one-fourth round or back eleven times 
after the first line is written. 

The exercise in the first design is for begin¬ 
ners ; a letter may be written along each of the- 
lines in the same manner. 

The exercise in the second design is for ad¬ 
vanced pupils or for anyone that can do it well. 
Of course either exercise may be made in either 
design. 





























44 


MANUAL OF METHODS. 


Writing in designs 
is the very best way to 
acquire good position. 

The pupil’s mind is 
so much occupied with 
the design that he gets 
a great deal of sys¬ 
tematic, helpful prac¬ 
tice, and a good posi¬ 
tion becomes estab¬ 
lished almost uncon¬ 
sciously. 

These are only sug¬ 
gestions of designs 
that may be worked 
out by the pupils for 
themselves. 

Writing in designs 
requires that position 
which makes it possi¬ 
ble to use both hands, 
one to adjust the paper 
and the other to write. 

The oval exercise is merely suggestive of writing any exercise, which may be a 
pupil’s regular letter or word exercise. 

These designs may be called the square design, and they may be written full in 
a variety of ways. 

SPECIAL. 

This system of writing contemplates only the penmanship of the pupil, not the 
learning or expression of sentiments. 

Pupils are expected to learn to write by writing. 

The Writing period is dedicated to the special betterment of the penmanship 
and not merely to learning letters in some form that makes it possible to read the 
writing. 

Learning to write well is a matter of growth. 

The pupil in his last school years should be compelled to do good work rapidly, 
just the same as if he were in business and his salary depended upon it. This may be 
done by requiring regular school work done with great dispatch and casting aside all 
papers that do not show good, firm writing, and have it understood that the subject 
matter will not receive any attention until written in better shape. But this would 
be hardly fair if the pupil had not had an individual chance to learn and was known 
to have succeeded with his regular course. 

No other branch in school can be so well managed to bring about actual 
business results. 

HOW OFTEN WRITE ? 

Once a day. It is necessary to give special attention daily to this subject more 
than to any other, because of so much writing of lessons which is a great advantage 
if the pupil is continually assisted and prompted, but a great disadvantage so far as 
establishing a good hand writing is concerned, if the proper vigilance is not exercised 
continually. 















PART IV. 


VERTICAL WRITING. 

We prepare the vertical style in the same plan of book and under the same 
methods of instruction that we prepare the slant. Following we give illustrations in 
vertical writing, with references to the pages in this book or the Chart Books, on which 
the duplicates in slant may be found. 

We do not discuss the merits or demerits of vertical writing here, but we claim 
to have the best and most practical form of vertical writing. 

A system for use in the public schools should be prepared with the twofold view r 
of learning to write in school and applying the style, so learned, to business writing. 

In the specimen from the Advanced Chart Book we suggest the writing of the 
third principle with connective strokes made under, as in c, a , d and g. This enables? 
us to write more rapidly. 

POSITION. 

The position for writing vertical writing is in question among authors. Although 
the position of paper straight in front of the pupil is not the most convenient for 
writing straight across the paper from left to right, we believe that it is the correct 
position for writing the vertical style, because the main strokes are made in the line 
of vision, which is true of slant writing when the position of the paper is straight with 
the forearm. 

The position of the body to the desk should be the same as the position in writing 
the slant hand, viz.: front position, but the elbows may come much closer to the side, 
and we may write well much closer to the lower edge of the desk than when writing 
the slant hand. 

MOVEMENT. 

The correct writing of the vertical style requires a whole arm movement without 
a rest, or with movable rest; we believe that pupils will easily adapt themselves to 
this movement, but it will require more attention for a time than the movement in 
writing the slant style. The hand movement must be used the same as in the slant style, 
but it is somewhat more difficult to acquire, because it must be accompanied with the 
whole arm movement instead of the forearm movement. See movement on page 40, 

Penholding is the same in writing both styles. 

FORM. 

Pupils do not write the vertical style at first because it is more natural to execute 
it, but because they have been in the habit of seeing every thing upright, and this mental 
impression, unconscious to them (and to too many of their teachers) controls them in 
making the first marks when learning to write. 

It is a mistake for teachers to enter upon the teaching of vertical writing with 
the notion that it will be easier to teach and learn correctly. That vertical writing 
conduces to correct position, is also a mistake, because pupils may write a legible 
hand with poor position and penholding more acceptably than they can write the 
slant hand with poor position and penholding. 

It will be necessary for the teacher to exercise vigilance in the matter of 

position and movement, while teaching the vertical style. 

Note.- All preceding illustrations in slanting style, but not given in this part, are applicable 
to the vertical style. 


46 


MANUAL OF METHODS. 


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EXERCISE CHART. 



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PRIMARY SPECIMEN. 


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MANUAL OF METHODS. 



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TESTIMONIALS 


1890. 

GEO. W. WINANS, State Supt. Public Instruction, Topeka, Kan.: “Ihaveex- 
amined Roudebush’s Writing Charts, and the plan therein followed is practical and 
logical. I have also had opportunity of noting the progress made in writing by pupils 
who have been instructed according to this system, and have found the progress of 
such pupils unanimously and remarkably great. The Roudebush brothers are relia¬ 
ble and honorable men, and as such I recommend them to all to whom this may be 
presented.” 

D. C. TILLOTSON, Formerly Supt. Topeka Schools, Topeka, Kan.: “I have 
carefully examined Prof. Roudebush’s Writing Charts and take pleasure in com¬ 
mending them. As superintendent of the city schools of Topeka, I became ac¬ 
quainted with his system of penmanship and know that it was marked out in the 
school room and is the result of actual experience of a practical teacher.” 

W. C. STEVENSON, Instructor in Penmanship and Book-keeping, the State 
Normal School, Emporia, Kan.: “We use the Roudebush Writing Charts and prac¬ 
tice paper in connection with the regular work in penmanship in the State Normal 
School. I consider the system superior to any I have seen for use in the public 
schools. It is particularly valuable to teachers who are not skilled penmen.” 

1891 . 

R. B. WELCH, Prest. Board of Education, Topeka, Kan., Formerly President 
Kansas State Normal School: “The Board of Education in this city adopted the 
Roudebush Writing System one year ago, and its use during the past year con¬ 
vinces us that it is the best and most practical system of writing now before the 
people. Our teachers were able to comprehend and teach it better, and our pupils 
made more substantial progress with this system than any other used heretofore. 
The system is adopted for five years and we have no disposition to change. In fact 
we know of no system that we would adopt in preference were the books and charts 
furnished to us free of cost.” 

JOHN M. BLOSS, Supt. of Topeka Schools, Topeka, Kan.: “We have used 
Roudebush’s Writing System in the Topeka Public Schools during the past year. I 
regard it as an excellent system because it is the only system by which the 
teacher is compelled to teach the subject. It is logical and correct in its methods. 
Our teachers like it and our pupils have made rapid progress.” 

MRS. C. F. MENNINGER, Topeka, Kan.: “I have no hesitancy in saying 
that, for Primary pupils, I like the Roudebush System of Writing best of any I know. 
It is especially good in early work, because it leaves off the “finishing lines,” which 
in other systems give rise to more or less difficulty.” 



54 


MANUAL OF METHODS. 


D. R. BOYD, Supt. of Schools, Arkansas City, Kan.: “We have used The 
Roudebush System of Penmanship in our schools for three months and we are ready 
to pronounce it a decided success. I wish particularly to endorse the plan of instruc¬ 
tion and drill. It is so devised as to meet in detail the difficulties of teaching the 
subject. It secures the intelligent work of each individual. It secures and retains 
the pupil’s interested attention by having constantly before him the particulars of his 
own improvement and failure. The pupil constantly sees and feels that his advance¬ 
ment depends on his own execution. The teacher also is held as directly responsible 
for criticism as the pupil for his work. 

“ I heartily endorse the system because it secures interested work from the pupil; 
because it secures good teaching from the teacher; and because it is economical.” 

1893. 

W. M. DAVIDSON, Supt. Topeka Schools, Topeka, Kan.: “It is the almost 
unanimous verdict of the teachers and principals in our schools that the system is in 
every way superior to any and all other methods with which they have had any ex¬ 
perience. The improvement in our writing since the introduction of the Roudebush 
System has been most marked.” 

C. R. FRAZIER, Principal of Schools, Soudan, Minn.: “I introduced your 
Writing Books in the Soudan Schools last winter. I am enthusiastic over them. 
Pupils are all eager for the writing period and many of them practice at home. The 
results are far better than I had hoped for even. I vote your system a grand success. 
We will continue their use and more extensively than heretofore.” 

J. G. SCHOFIELD, Supt. of Schools, Seneca, Kan.: “We have used the 
Roudebush System of Penmanship to the exclusion of all others in Seneca Public 
Schools for the past year. We find it very satisfactory. It is certainly superior in 
every way to the old Copybook system. When the teachers come to know its advan¬ 
tages the Roudebush will take the lead in schools where penmanship is taught rather 
than ‘writin.’ ” 

GEO. W. KENDRICK, Supt. of Schools, Clay Center, Kan.: “ In Clay Center 
schools we have used the * Roudebush System ’ of penmanship one year and the 
progress in that direction was remarkable. At the opening of the year we had a 
city full of pupils who could not write. At the close of the year we had a city full of 
pupils who were excellent penmen. I cheerfully recommend the Roudebush System 
as the system.” 

BELLE BENNETT, Principal of Euclid School, Topeka, Kan.: “ It gives me 
pleasure to say that I have had excellent results in writing by using the Roudebush 
System. If the instructions are followed, the pupils become interested and anxious 

to advance. Some of my poorest writers have become good penmen in a few weeks.” 
& 

JOHN L. WILLIAMS, Principal of Harrison School, Topeka, Kan.: “ The 

Roudebush Writing System has enabled teachers to get better results than they could 
possibly secure by any other system. They have been, compelled to study the 
analysis of letters, thus getting a correct mental picture of the letters and learning 
to write. It then becomes an easy matter to criticise the work of the pupil in¬ 
telligently.” 



TESTIMONIALS. 


55 


MABEL SMITH, Euclid School, Topeka, Kan.: “In my experience I have 
found no system that serves to keep up the interest of the school as well as the 
Roudebush. There is a novelty about it that is found in none other. The method 
in arrangement is so full of variety that it always interests.” 

MARY B. HUTCHINSON, Principal First Ward, Arkansas City, Kan.: “I 
am an enthusiastic admirer of the Roudebush Writing System. I have been a 
teacher for twenty-five years and have not found any system equal to this. With it 
all of my teachers accomplished wonders.” 

L. M. BERRY, Arkansas City, Kan : “ It gives me genuine pleasure to testify 
to the merits of the Roudebush Writing System, indeed I can scarcely say enough in 
its favor. The elements are few, the system easily understood, the work a pleasure 
to both teacher and pupil. The results are excellent.” 

LIZZIE F. WARK, Second Ward, Arkansas City, Kan.: “I have taught the 
Roudebush System of Writing for two years and can say that in twelve years of ex¬ 
perience I never found as good a system as it is. My observation is that it is so 
complete and simple that every teacher who uses it obtains excellent results from a 
large per cent, of the pupils.” 

KATHERINE WILDER, Clay Center, Kan.: “To both teacher and pupils, 
writing is no longer the bug-bear it formerly was. My pupils look forward to ‘writing 
time ’ with the keenest pleasure.” 

1895. 

HENRY R. CORBETT, State Superintendent, Lincoln, Neb.: “I desire to say 
for the Roudebush System of teaching penmanship that during my work as Superin¬ 
tendent of city schools this method of instruction proved to be so systematic, so easily 
conducted by the teacher, and so productive of good results, that if I were today 
placed in charge of a city graded school, I know of no system I would more willingly 
introduce into the schools under my supervision.” 

S. W. BLACK, Supt. of Schools, Pittsburgh, Kan.: “I am glad to inform you 
that we are having good success with our writing under your system. It may seem 
an extreme statement, but I feel called upon to say that, the ‘ Roudebush System ’ is 
the only real writing method that I know of. With it I can keep my teachers all up 
to the working point. With it I can secure uniformly good work from the pupils. 

“We do not care to exchange for anyone’s writing books.” 

J. H. GLOTFELTER, Supt. of Public Schools, Atchison, Kan.: “We have used 
the Roudebush System of Penmanship for one year with very gratifying results. It 
is practical and teachable. It is based on the right idea—quality, not quantity.” 

CAROLINE V. SMITH, Teacher in Writing, State Normal School, Winona, 
Minn.: “I am in receipt of the ‘Roudebush System in Writing,’ and am greatly 
pleased with the method. In my opinion it is the most progressive and practical 
system published thus far. I wish to congratulate you upon a radical departure in the 
method of presenting the work in Penmanship.” 

C. A. FAUST, Penman, Chicago Business College, Chicago, Ill.: “I have ex¬ 
amined the Roudebush Writing System and, while I believe only in personal instruc¬ 
tion, I consider the graded lessons, the plan of individual instruction, and the method 
of drills, as outlined and suggested in the Portfolio Chart Books, the best I have 


ever seen. 





56 


MANUAL OF METHODS. 


OF INTEREST. 

The only way the plan can be carried out to the best advantage is through and 
by a regular adoption of the Chart-Books for the pupils and Manual for the teachers. 

Where such adoption can not be secured, teachers may order Trial Cards and 
Manual ; we feel sure that regular adoption will follow, sooner or later. 

If teachers do not wish to do this, they may induce the school board to order the 
Wall Charts and Manual, by means of which the plan may be tested, and the Wall 
Charts would always be of very great service in teaching the forms of letters. 

Those interested in learning or teaching writing can not afford to ignore this 
most effective system of writing. 


REVISED PRICE LIST OF 

THE ROUDEBUSH WRITING SYSTEM. 

Either Slant Hand or Vertical Series. 

PORTFOLIO WRITING BOOKS, Complete in Three Books. 

Retail price, each. 10 Cts. 

Primary, for first, second and third grades. 

Intermediate, for fourth, fifth and sixth grades. 

Advanced, for all grades above the sixth. 

Each book contains 20 sheets of paper, or 1 %. times as much writing surface as a 
copy book. 

WRITING PACKAGES, in three numbers, corresponding with 
the Portfolio Writing Books (Primary, Intermediate and Advanced). 

Each consists of 50 Sheets of paper, in neat tablet form, inclosed 

with blotter sheet (in heavy envelope). Retail price, each. 10 Cts. 

This paper is for practice and specimens, and especially prepared (ruled in three 
ways same as in Three Book Series), and is equal in writing surface to 3 h> copy books. 

The Writing Packages are to be used as fillers after the 20 sheets of 
paper in the portfolio have been used up. 

MANUAL OF METHODS. —This book contains complete instructions 
for carrying on the plan, which if carefully followed, will never fail 
to make good writers of every pupil. The interest will be remarkable 
and the work on the part of the teacher no greater than in other 
branches. Free to Teachers using the system, or where a 


regular adoption has been made. Retail price, each. 25 Cts. 

Wholesale price of above to schools, in quantity, 25 per cent. off. 

For Examination. Set of Portfolio Writing Books and Manual of 

Methods, post paid. Price, per set. 25 Cts. 

ROUDEBUSH WRITING TABLET. —This tablet contains twenty- 
five sheets—Primary, Intermediate or Advanced—One half of writing 

package, but not in envelope. 5 Cts. 

TRIAL CARDS. —These consist of two cards for pupils ; one has the 
Small Letter Chart and a specimen, the other has the Capital Letter 
Chart and a specimen. Sold , only for trial. Manual and one hun¬ 
dred cards (fifty of each). $1.00 

WALL CHARTS. —Per Set (Two) and Manual. $3.00 


PUBLISHED BY 

Central Sell ool Supply House, 

dricago. 















The Portfolio Chart Book. 

















































































































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